Verse:Mwail/Bjeheond/Music: Difference between revisions

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==Tsjoen music==

==Wiobian music==

The theoretical basis for Wiobian music is very similar to that of Hlou romantic music, except that the terms used are different. The ''Rag'' and ''Tal'' are known as ''~~Zrehnt~~'' and ''Hiod''. But Wiobian rhythms (''ntohiod'') are much more complex than Hlou ''Tal''s. ''Ntohiod'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).

The theoretical basis for Wiobian music is very similar to that of Hlou romantic music, except that the terms used are different. The ''Rag'' and ''Tal'' are known as ''Zrehn'' and ''Hiod''. But Wiobian rhythms (''ntohiod'') are much more complex than Hlou ''Tal''s. ''Ntohiod'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).

Singing, both choral and solo, is as much a part of Wiobian music as instruments since Wiobian isn't a tonal language like Hlou.

Both polyphonic and solo music follow the notes of the ''~~Zrehnt~~''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.

Both polyphonic and solo music follow the notes of the ''Zrehn''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.

In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''~~Zrehnt~~''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.

In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Zrehn''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.

Instruments typically used for harmony and polyphony, in addition to the voice, are tubulongs, marimbas of various kinds, guitars, reed organs of various kinds, pipe organs, zithers, and steelpans (introduced by the Rhythoed). These are typically tuned to either a 26 tone 7 limit scale, or a 34 tone 11 limit scale. Flexible pitch instruments are also used, such as the violin family (borrowed from Hlou music), the musical saw, and the Crychord.

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 ==Tsjoen music==
 ==Wiobian music==
-The theoretical basis for Wiobian music is very similar to that of Hlou romantic music, except that the terms used are different. The ''Rag'' and ''Tal'' are known as ''Zrehnt'' and ''Hiod''. But Wiobian rhythms (''ntohiod'') are much more complex than Hlou ''Tal''s. ''Ntohiod'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
+The theoretical basis for Wiobian music is very similar to that of Hlou romantic music, except that the terms used are different. The ''Rag'' and ''Tal'' are known as ''Zrehn'' and ''Hiod''. But Wiobian rhythms (''ntohiod'') are much more complex than Hlou ''Tal''s. ''Ntohiod'' are sort of a cross between rhythmic cycles and ground bass lines (as in Baroque era passacaglias).
 Singing, both choral and solo, is as much a part of Wiobian music as instruments since Wiobian isn't a tonal language like Hlou.
-Both polyphonic and solo music follow the notes of the ''Zrehnt''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
+Both polyphonic and solo music follow the notes of the ''Zrehn''. Solo music was very often unwritten and much of it was purely improvised, unlike polyphonic music. Solo pieces lacked a ground bass which allowed improvisers the freedom to make highly microtonally inflected melodies, often using a few dozen tones per octave.
-In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Zrehnt''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.
+In the Romantic era, formerly improvised pieces were written down, forming a new canon, and simultaneous improvisation was introduced. ''Zrehn''s no longer had to consist of overtone series scales; people were experimenting with much weirder combinations of notes.
 Instruments typically used for harmony and polyphony, in addition to the voice, are tubulongs, marimbas of various kinds, guitars, reed organs of various kinds, pipe organs, zithers, and steelpans (introduced by the Rhythoed). These are typically tuned to either a 26 tone 7 limit scale, or a 34 tone 11 limit scale. Flexible pitch instruments are also used, such as the violin family (borrowed from Hlou music), the musical saw, and the Crychord.